Crane and Jackson are two very exciting British composers
who have both made their mark on the UK’s music in very different
ways. Crane is an experimentalist, a subversive in our midst,
creating exquisite miniatures of great beauty and intensity,
all the while undermining our sense of what music should be
and what it should do. The disk of his solo piano music (Metier
MSV28506) is a fine introduction to his world of unassuming,
but always dangerous, composition.

Jackson has been described by The Guardian as “today's successor
to Herbert Howells . . . a composer who manages to refer reverentially
to music from the early Tudor period to late Stravinsky and
beyond and yet stays completely in the present in his search
for the transcendent” and in his position as Associate Composer
with the BBC Singers we’ve been able to hear many of his works
almost as soon as they are written, through radio broadcasts.
Although his music is more straightforward than Crane’s it still
springs surprises on you.

This is an exciting compilation of music by these two young
composers. And what good foils for one another they prove to
be. Jackson gets the lion’s share of the disk because Crane
hasn’t written as much organ music. There is quite a variety
in Jackson’s works recorded here, and there could be no bigger
contrast between the first two works – Southwark Symphonies
being extrovert and very colourful whereas Comeragh Litanies
is full of ornamentation, and is thoughtful and contemplative.
There’s a passage of real brilliance towards the end where the
music seems to quote the Chorale Stravinsky wrote in
memory of Debussy and upon which his Symphonies of Wind Instruments
is based. Aquarius with Quartz and Copper and
Carillon for Louise and Nick were both written for the
weddings of friends and relations. Aquarius is almost
over–the–top extrovert, and, with the addition of the trumpet,
it makes a brilliant effect. Carillon, written for his
sister’s wedding, is more restrained, but somehow more jubilant.
St Asaph Toccata is a bright and breezy piece which brings
the disk to a joyous conclusion.

Carne’s works are, as one would expect, more introverted, contemplative
and thoughtful. Old Life was Rubbish is an open
score and thus we have three different realisations of it scattered
throughout the recital. It consists of two chords, and Bonaventure
understanding the delicacy of the music, gives three restrained
and delicate performances. 1992: Three Pieces consists
of three works written in 1992 and later arranged for organ.
Sparling started life as a piece for clarinettist Andrew
Sparling and it’s gone through several different arrangements
since its première. It’s a very simple melody with discrete
dissonant accompaniment. It seems to hang in the air and come
from nowhere, to return there at the end. Favourite chord
was originally written for Howard Skempton’s accordion and The
Swim was conceived for an electronic organ. They all work
very well for the organ and Bonaventure keeps his registration
to a minimum throughout and his choices are perfect for the
music.

The recorded sound is excellent, brilliant and clear. The notes
are good and give a full registration of the organ. This is
volume one of what could be a very exciting series.

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